History of the Gothic Subculture

Figure 8.1 : Bauhaus new and final Album

In an article by Alicia Porter Smith on www.gothicsubculture.com, she mentions that the origin of the Goth subculture "...is usually placed in 1979 when Bauhaus released the song "Bela Lugosi's Dead."  Going on to note that "The band originally intended the song to be tongue-in-cheek; however, many young fans latched onto this mysterious, eerie sound as inspiration for the budding gothic subculture."

Bela Lugosi's Dead: A song released in 1979 on the Small Wonder label by the band Bauhaus. The lyrics are:

White on white
translucent black capes
back on the rack.
Bela Lugosi's dead.
The bats have left the bell tower,
the victims have been bled,
red velvet lines the black box.

Bela Lugosi's dead.
Undead Undead Undead.

The virginal brides
file past his tomb,
strewn with time's dead flowers,
bereft in deathly bloom,
alone in a darkened room
the count.

Bela Lugosi's dead.
Undead Undead Undead.

Oh Bela, Bela's undead.

She goes on to describe the three generations of Goths, ending of with : 

"First and second generation Goths look suspiciously upon the new generation, doubting their authenticity and disliking the exposure they give to a subculture which would prefer to remain underground. The new generation is not presently well received by their elders, but time may prove otherwise. It would be difficult to predict what the future holds for the Gothic movement. After over 20 years, it continues to change, grow, mutate and adapt, making it one of the longest surviving youth subcultures in existence." 

Michiel van Staden

Emperor Qin's Terracotta Army

 Figure 7.1 : The 1974 discovery of buried vaults at Xi'an filled with thousands of terra cotta warriors stunned the world.

According to an article on archaeology.about.com, the 'Chinese Terracotta Army', as they have become known, is an army of unique statues created out of terracotta clay, which was discovered in 1974.  Soon after taking the thrown in the year 247 BC, ruling over a newly united China, after a period of fierce power struggles, Qin Shihuang ("First Emperor of Qin"), as he renamed himself, ordered the construction of his own tomb, reportedly as a representation of his control over the resources from the area, together with an attempt to continue this into the afterlife.


Within the same article it is mentioned that it is evident that the statues were painted in vivid colors, although most of the paint has gone.  This thus indicates that the black materials used by Kim Gush in her fastrack collection, was of her own creation, through influence from other sources.  The very dark colors which have probably become the key message that has generally been taken from the collection, adding to the Gothic interpretations, thus seems to almost cloud what she lists as her main influence.


Michiel van Staden

Thoughts from the Industry

Bronwyn Day, Fashion Director GLAMOUR Magazine:

'Young talented fashion designers are extremely influencial to the arts and cultural landscape of South Africa.

Fashion design as an art form becomes a mini cult medium through which designers can develop a signature aesthetic and gather a consumer following.

This essentially leads them to partnering with retailers/shop owners as well as exposure in magazines, and this in turn feeds the economic machine of the developing brand/business.

The fashion arena has now branched out into online territory, which has widened the net for young designer exposure through fashion blogs and websites.

Financial restraints are one of the biggest factors when looking at young talent on a global scale.However, slowly but surely smaller independent labels in SA are branching out into the overseas market by means of an ever growing Africa and SA Fashion Weeks.

This should therefore not deter the young designer, but rather make them hungrier and more determined to get more international exposure for their developing brands.

At the end of the day, a talented and focussed designer should keep their eye on the ball. Streamline the brand with each new collection, get the exposure in print and online, and manage the finance side of things in order to develop and establish regular customers.'

Palesa Selebogo

Fast Track Designers

Figure 6.1 : Hugo Fleur

Figure 6.2 : Kim Gush

Kim Gush (1 of the winners) and Hugo Fleur (finalist) were among the Foschini fastrack designers at the Mercedes Benz fashion week. These designers need fewer introductions to the new burst talent in the fashion industry. 

AFI described Kim Gush style as,” combines her training in film and fashion with her passion for ancient histories to create stories of the untold. She explores both the traditional and modern in her construction meshing old and new worlds into her own hybrid creations”. Kim Gush is more of telling the untold secrets of the ancient and creating them in a more costume manner than of a fashion related sense. With Hugo Fleur being more the opposite of what Gush does, Nicola Cooper (LISOF lecturer) described Hugo’s collection as one that resembles Alexander Mc Queen. Both collections draw the same inspiration looks but are executed in two different ways.

“Structural difference between costume and fashion with regard to time- stability and immutability of costume as opposed to giddiness of fashion and metaphorical space- a normal versus a topsy-turvy world (Lotman 1993).

Figure 6.3 : Hugo Fleur  Mercedes Benz fashion week Collection

Figure 6.4 : Kim Gush Divine Rule Collection

Nonti Mtshweni

Kyra Moon- Halfpenny Collection

Interview - BY Londiwe Mbhele, Tuesday, 20 Mar 2012

What inspires you?

Zulu people, mother nature, New York City, Harajuku Girls

How did you find the AFI Fastrack experience?

The AFI experience was, motivating. It was great to see the different reactions I got from my   collection. This will help me going forward when designing a future collection. Meeting the people I did also reminded me why I have chosen fashion as my career, I walked away very inspired.

What have you learnt from this experience?

It teaches you to be very organised and very professional. When putting garments together (sowing them) being neat and paying attention to detail is very important as well as treating your garments like prized possessions. Lastly believing in yourself and going with the creative magic that flows through you when designing a collection.

And where do you see yourself in 5 years?

The future. One step at a time, I have goals and aspirations, that only me my dear friends and mentors know about.

(L. Mbhele; March 2012)

Kyra Moon’s Collection - featured at SAFW in Johannesburg.

Autumn/Winter 2012

Figure 5.1 : Organic prints

Figure 5.2 : Harajuku

Figure 5.3 : Crochet

Figure 5.4 : Playfulness

 

Figure 5.5 : Disney (Hello Kitty)

(WGSN- Kyra Moon A/W; 2012)

Characteristics of Kyra Moon’ collection- Organic prints(References modern and simplicity), Crochet(References Kyra’s historical background and personal interests), Hello Kitty(References Disney and playfulness), New York City(References travel) and Blanket(References culture).

Kyra Moon draws inspiration through photographic references                                                                   

 (URL- www.afisa.co.za; February 2012 ).

Kyra’s Inspiration

·        Mother Nature –

(Also referred to Mother Earth)

Mother Nature ; “is a common personification of nature that focuses on the life-giving and nurturing aspects of nature by embodying it in the form of the mother”

(FOLLOW LINK- Wikimedia Foundation, Inc; March 2012 )

·       Harajuku Girls –

(First hired to perform in 2004)

The Harajuku Girls are four young Japanese American back up dancers. They appeared  in stage shows and  music videos of  Gwen Stefani

The names of  The Harajuku Girls are Maya Chino ("Love"), Jennifer Kita ("Angel"),  Rino Nakasone-Razalan ("Music") and Mayuko Kitayama ("Baby").

The Harajuku style is combination of Gothic subculture style and a playful  Disney theme.

Figure 5.6 : J. Campbell; 2004

Figure 5.7 : Unknown photographer; 2010

Figure 5.8 : Unknown photographer; 2010

·       New York City

Figure 5.9 : S. Edelbroich; 2010)

·       Zulu & Basotho

Kyra references the blankets that the Basotho culture are known for and the vibrant colours that the Zulu culture are known for.

Figure 5.10 : Basotho (J. Hrusa; February 2011)

Figure 5.11 : Basotho )Unknown photographer; 2011)

Figure 5.12 : Zulu (D. Cuthbert; 2007)

Megan Schoeman

Kyra Moon- Halfpenny

Figure 4.1 : Kyra Moon-Halfpenny

Background & Achievements

Kyra Moon Halfpenny born on the 14th July 1987. Halfpenny grew up an ordinary girl. Since she dedicated her life to her studies and art her life was unexpectedly changed by extraordinary opportunities. Kyra Moon has become one of the most creative and innovative South African  designers since her work was seen on the ramp of SAFW(South African Fashion Week) in Johannesburg. Today this 25 year old fashion designer has achieved so much already by working hard and being exceptional. 

This upcoming South African fashion designer graduated from the DUT (Durban University of Technology), (N. Hlefane; April 2012). Kyra’s work was recognized and chosen above the work her fellow students. Her dedication to her studies and loyalty to her personal interests was the reason that the great opportunities was offered to this unique fashion student. In a very brief period the doorway to her bright future was opened with a tremendous bang.

Kyra Moon was one of 12 designers who was selected to showcase their creations as part of the Fast Track program in African Fashion International (AFI). This program aims to launch the careers of young fashion graduates(M. Monnakgotla; March 2012).

Halfpenny was one of four finalist in this program. Each student was awarded 10 000 by AFI and KZN Fashion Council), (N. Hlefane; April 2012).

This talented fashion designer was also awarded with Winner of the Most Innovative Collection at D.U.T’s Final Year Fashion Show. She was also a finalist in the NWJ Bridal Fair and also semi-finalist in the Vodacom Durban July Young Designer category(N. Hlefane; April 2012).

 

            “In order to be irreplaceable one must always be different”                                   – Coco Chanel

In my opinion this remarkable upcoming fashion designer truly is irreplaceable. Kyra Moon is the definition of different. Hopefully we will see Kyra’s work on INTERNATIONAL runways in the future.

Megan Schoeman

Sub-cultural Groupings

The term ‘Sub-culture’ by definition is “a meaning of systems, modes of expression or life styles developed by groups in subordinate structural positions in response to dominant meaning systems, and which reflect their attempt to solve structural contradictions rising from the wider societal context.” Michael Brake (1985).

In other words sub-cultures are distinct groupings of people who share the same attitudes, understandings and social norms. Both Collections by Kyra-Moon and Kim Gush (AFI Fastrack 2012 finalists) reference some form of sub-cultural element and this is evident in the collections’ aesthetics and morality. The term aesthetics in this context refers to a distinct style and taste portrayed in the clothes’ physical appearance and creativity, while the morality highlights the importance of liberation from common restraints in pursuit of sheer satisfaction. The words ‘fashion’ and ‘poverty’ are often used together now more than ever in Africa, especially with the formation on the Congolese Grand Sapeurs and the South African teen sub-culture Izikhotani.

Figure 3.1 : Congolese Grand Sapeurs, The Original African Bling Kings

Figure 3.2 : Izikhotane Crew at Thokoza Park, Soweto

Contrary to Le Grand Sapeurs and the Izikhotani our local DIY fashion heroes from Soweto, The Smartees, exist as a result of the inability to afford luxury fashion brands. The Smartees design signature is made up of European Colonialism and traditional African wear. Like Kyra-Moon’s collection references many different cultural backgrounds. The Durban University of Technology fashion design student presented a youthful interpretation of what one could refer to as local Harajuku Girls.

Figure 3.3

Figure 3.4

Figure1: Kyra-Moon’s collection references crochet.  Although no one is certain where its’ history began, it dates back before the 1800s, Pennie Packard (date unknown). The term “brogue” originated in the late 16^th century and the brogue shoes originate from Scotland and Ireland.  Stockings date back from the Baroque and Rococo eras where women in the 18^th century wore stockings imitating le marquis de Pompadour’s fashion sense. The Smartees describe their style as “Playful, spontaneous, edgy, colorful, and vintage-meets-new". Their looks are made up of clothes from other decades worn by their parents and grandparents, inspired by European clothing and African wear.

The phenomenon of sub-cultural groupings has driven the fashion industry for many decades and thus plays a major role in the social dimensions of our society.  Kim Gush’s range is inspired by sci-fi post-apocalyptic–ninja, sometimes referred to as Armageddon. This concept encompasses a fiction where a civilization is set free after worldwide conflict or destruction. This concept also depicts the end of the world as a result of great natural disasters.

Figure 3.5

Figure 3.6

Figure 3.7

Below is Kim’s interpretation of Post-Apocayptic-Ninjas… Enjoy

Figure 3.8

Figure 3.9

Figure 3.10

Palesa Selebogo

Exploring the Power of Identity

According to Jenkins “Identity is a negotiable concept” (Tully.A.2012.Identity; Lecture 4.LisofPta). The word identity means different things to different people. For others identity is individualism, uniqueness, distinctiveness, character, personality or self. In our everyday lives we express certain elements of identity within and out of our social circles. We are able to do this through our sexes, traditions and customs, personas and economic classes.

How do Designers Construct their Identity?                                                                               

To understand where we are today we need to understand where we come from. Kim Gush (2012). In other words to understand who we are and what we stand for, we need to look back and reflect on and examine our past. In doing this we allow ourselves the opportunity of recreating our own identity through challenging and questioning historic collective beliefs and pre-determined myths. Our postmodern view of identity is that it is hybrid, fragmented and unstable. However world renowned designer, Vivienne Westwood, is primarily known for mostly referencing her own British heritage in her collections and has managed to uphold this image throughout many different decades. It’s almost as if her identity has not been influenced by postmodernism. In 1989 she was listed as one of the six most influential designers by John Fairchild. In 1990, Westwood was the British designer of the year and in 2006 she was appointed a British Dame. In 2007 she achieved the Outstanding Achievement in Fashion at the British Fashion Awards. Westwood has been quoted saying: “My design signature is the adaption of historical garment construction into modern clothing.” And her inspiration is drawn from classical music, books and paintings.

Figure 2.1

Figure 2.2

Figure 2.3

On the other hand Kim Gush celebrated as the new craze and showcased her first collection (Immorality of Divine Rule) at the Foschini Fastrack Show inspired by the Chinese terracotta army. As a first time designer many could argue that she is still in the process of constructing her identity. Kim sees herself as an aspiring fashion designer with a strong passion for film and costume. Her work is experimental and she designs the entire look from the garments, hair, makeup and the accessories. Her love affair with ancient cultures, myths, legends and the human psyche is what inspires her work. Through her designs she aims to depict dark untold secrets and by using previous and innovative techniques to create futuristic stories. Apart from the post-apocalyptic-ninja attributes, this collection references elements of primitive mysteries and pre-historic traditions to construct Kim’s identity and design signature. In this collection Kim has explored the elements of gender and androgyny (within the large scope of identity) by combining a mixture of masculinity and femininity.

Palesa Selebogo

What can truly be described as art?

Above is a video created by Kim Gush with help from Nikita Newton, Peter Gildenhuys, Jared Musiker and Theunis Stofberg. This video is called The Immortality of Divine Rule. The AUTUMN/WINTER 2012 collection created by Kim Gush, is shown in this video. As an aspiring fashion designer Gush favours combining her knowledge of film and costume to create something innovative with her ranges. Therefore she does not only focus on the garments themselves but also everything that goes with it. Whether this video can be described as an artform or not is up for discussion. 

In my personal opinion, the way that Gush was able to create a video that relates and explain so much of the symbolic meaning behind the range was spectacular. This video describes and compliments her range, in such a way that you are able to recognise the origins of her inspirations. You can truly be called an artist when you are able to combine several different mediums into something so successful.

In my opinion…Kim Gush, for lack of a better word, nailed it!

Sune de Beer

14.04.2012

Kim Gush

Figure 1.1

Figure 1.2

Figure 1.3

Figure 1.4

Figure 1.5

  "To understand where we are today, we need to explore where we came from." (Kim Gush 2012)

This motto is what upcoming fashion designer Kim Gush lives by. I chose her for this entry because her work contains several elements of symbolic meaning. I am also intrigued by the way that she expresses herself and her passion for what she does and believes in. The purpose of this blog is to explore what designers, Kim Gush specifically, use as inspiration, where they get it from and why they use it. Alison Lurie claims that clothes are almost the equivalent of words and sentences. She suggests there are many different languages of attire, each with its own grammar and vocabulary, whose meaning can be read almost as if one, were looking at a book (Lurie 1992:4). 

Kim Gush is famous for creating unique ranges that can almost be described as art. Her background in film and costume enables and also inspires her to create something innovative. Gush has a passion for ancient cultures and histories. Therefore her range, The Immortality of Divine Rule (A/W 2012) was created.  She drew inspiration from the Chinese terracotta army. 

Gush states that the story tells of the sacrifice and burial of soldiers, mistresses and workmen in order to create the emperor’s ideal afterlife. Her range signifies a visual plethora of the creatures that may be resurrected from this tomb. (Gush 2012)

Gush aims to inspire young fashion designers to think out of the box. “Always offer something new and creative” (Gush, 2012).  

When I look at this range, without any prior knowledge of its origins and inspirations it comes forth as something extremely innovative, brave, fresh and even provocative. It also has strong Gothic elements. These elements are clearly noted in her choice of colors, fabrics, and styling. Even the soundtrack that was used when creating the film aspect of the range was dark and mysterious.

There are also several silhouettes and shapes that represents past fashions. I have also noticed certain masculine vs. feminine elements. This will then refer to aspects of the present where women borrow from men’s closets and vice versa. The cowl neckline or the robe/dress garments refers to an aspect of femininity. Therefore the symbolic meaning behind the range and the purpose there of is clear.

Gush aims to inspire people to be more experimental, not only with their clothing but with everything that goes with it.

She is an aspiring young fashion talent that South Africa is yet to experience to the fullest. We hope to see more of her work in the future.

Sune de Beer

12.04.2012

Blog Introduction

In analysing the individual Fastrack process, we will be focusing on two of the designers, Kyra Moon-Halfpenny and Kim Gush, both of whom were selected within the final four to be assisted further in their careers, but through very different looking ranges.

In assessing each of them we will be researching their respective backgrounds, their sources of inspiration and incorporating their personal reports regarding the ranges, but will also be questioning various sources, with varied backgrounds themselves, to understand the impact and reception of these collections within the wider audience.

P. Calefato begins a writing called The Clothed Body (2004), with a quote saying, amongst other things, that, “...from the external form of clothes one cannot infer the form of the thought they clothe...” taken from Wittgenstein (1922).

Whilst M. Maynard starts out his offering, Style and Communication (2004), with the words “All clothing is a form of communication...”

Within an article called Written Clothing, in The Fashion Reader, Barthes (2011) goes further in discussing the different formats that clothing is represented in these days. 

So from originally being conceived as an idea by the designer, to going into a physical garment warn by the models, to ending up as a runway show and a set of photos or a video, sometimes accompanied with worded reports, when finally presented to the audience, prospective client or possible employer, how does meaning manifest and communicate itself within these different incarnations?  Especially given the fact that neither is based on a well defined local identity, but rather compiled from various widely varied sources?

Michiel van Staden